
ROME (Sept. 6) - Luciano Pavarotti, opera's biggest superstar of the late 20th century, died Thursday. He was 71. He was the son of a singing baker and became the king of the high C's. Pavarotti, who had been diagnosed last year with pancreatic cancer and underwent treatment last month, died at his home in his native Modena at 5 a.m., his manager told The Associated Press in an e-mailed statement.
His wife, Nicoletta, four daughters and sister were among family and friends at his side, manager Terri Robson said. "The Maestro fought a long, tough battle against the pancreatic cancer," Robson said. "In fitting with the approach that characterised his life and work, he remained positive until finally succumbing to the last stages of his illness."
Pavarotti's charismatic personna and ebullient showmanship - but most of all his creamy and powerful voice - made him the most beloved and celebrated tenor since the great Caruso and one of the few opera singers to win crossover fame as a popular superstar. "He has been, of

For serious fans, the unforced beauty and thrilling urgency of Pavarotti's voice made him the ideal interpreter of the Italian lyric repertory, especially in the 1960s and '70s when he first achieved stardom. For millions more, his thrilling performances of standards like "Nessun Dorma" from Puccini's "Turandot" came to represent what opera is all about. "Nessun Dorma" turned out to be Pavarotti's last aria, sung at the opening ceremony of the Winter Olympics in Turin in February 2006. His last full-scale concert was at Taipei in December 2005, and his farewell to opera was in Puccini's "Tosca" at New York's Metropolitan in March 2004. Instantly recognizable from his charcoal black beard and tuxedo-busting girth, Pavarotti radiated an intangible magic that helped him win hearts in a way Placido Domingo and Carreras - his

"I always admired the God-given glory of his voice - that unmistakable special timbre from the bottom up to the very top of the tenor range," Domingo said in a statement from Los Angeles. Pavarotti, who seemed equally at ease singing with soprano Joan Sutherland as with the Spice Girls, scoffed at accusations that he was sacrificing his art in favor of commercialism.
"The word 'commercial' is exactly what we want," he said after appearing in the "Three Tenors" concerts. "We've reached 1.5 billion people with opera. If you want to use the word 'commercial,' or something more derogatory, we don't care. Use whatever you want." In the annals of that rare and coddled breed, the operatic tenor, it may well be said the 20th century began with Enrico Caruso and ended with Pavarotti. Other tenors - Domingo included - may have drawn more praise from critics for their artistic range and insights, but none could equal the combination of natural talent and personal charm that so endeared Pavarotti to audiences.
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